Since I were once worried myself about the Canon EF 85mm f1.2L II USM 
The Canon EF 85mm f1.2L II USM
If you are shooting portraits with the Canon EOS 5D Mark II and the Canon EF 85mm f1.2L II USM
or with the Canon EF 50mm f/1.2 L USM
Please see my other post about it here, with details from Chuck Westfall.
Pre-Order the new Canon EF 100mm f/2.8L IS USM on Amazon.com
Lake Success, N.Y., September 1, 2009 – Canon U.S.A., Inc., a leader in digital imaging, continues its advancement of EOS lens technology with the introduction of three new EF and EF-S lenses – EF 100mm f/2.8L Macro IS USM, EF-S 15-85mm f/3.5-5.6 IS USM and the EF-S 18-135mm f/3.5-5.6 IS, lenses. The new EF 100mm f/2.8L Macro IS lens is the world’s first camera lens featuring Canon’s new Hybrid Image Stabilization (Hybrid IS) technology*, compensating for both angle camera shake and shift camera shake, up to four shutter speed steps. The EF 100mm f/2.8L Macro IS USM lens is compatible with all EOS cameras, while the EF-S 15-85mm and EF-S 18-135mm zoom lenses are designed specifically for Canon digital cameras that are compatible with EF-S lenses.**
EF 100mm f/2.8L Macro IS USM lens
The EF 100mm f/2.8L Macro IS USM lens could very well be the essential multipurpose lens for every camera bag due to its ability to capture sharp close-up images of small objects as well as beautiful portrait-length telephoto shots. The incorporation of Canon’s new Hybrid IS in this L-series macro lens allows it to compensate more effectively for camera shake during close-up shooting and marks a significant improvement for professionals and advanced amateurs utilizing macro photography for portrait, nature or wedding shoots.
New Hybrid IS Technology: Designed Especially for Macro Photography
The world’s first* optical image stabilizer for SLR cameras was introduced in the EF 75-300mm f/4-5.6 IS USM in 1995. Since then, Canon has made continual advancements in IS systems to enhance panning capability and improve compensation for camera shake. Now, in a move aimed at extending image stabilization to the macro realm, Canon introduces its Hybrid IS in the new EF 100mm f/2.8L Macro IS USM – another first for Canon and the world.
Conventional image stabilization technology is useful for reducing the effects of camera shake in non-macro shooting situations. When shooting handheld close-ups at 1x, however, camera shake makes it difficult to achieve acceptable results even with lenses incorporating conventional image stabilizers. Now, thanks to the Hybrid IS found in the EF 100mm f/2.8L Macro IS USM, Canon extends IS technology to the macro realm, making it easy to obtain clear handheld close-ups – a world first* and a definite advantage in environments where use of a tripod is not an option.
In order to combat the effects of camera shake in a macro lens, the IS system must be able to compensate for both angular camera shake and shift camera shake – problems that become more apparent as magnification increases. The effects of shift camera shake are rarely noticeable when shooting outside the macro realm, such as in landscape photography. But when shooting extreme close-ups, even the slightest amount of camera shake, either of the angular or shift variety, can adversely affect image quality.
In macro photography, shift camera shake and angular camera shake affect both the image formed on the sensor and the image shown in the viewfinder. This is especially relevant to handheld shooting at 1x, since the inability to properly compose and focus due to a shaky image in the viewfinder makes it extremely difficult to record sharp images.
Conventional image stabilizers of the type found in Canon IS lenses incorporate an angular velocity sensor (vibration gyro) to compensate for angular camera shake. Based on the amount of camera shake detected by the sensor, the IS system calculates the amount of blur on the image plane, after which lens elements in the IS are positioned to compensate for the shake. However, this type of image stabilizer can neither detect nor correct shift camera shake common to handheld macro photography.
The Hybrid IS includes an acceleration sensor in addition to the conventional angular velocity sensor (vibration gyro). Based on the amount of camera shake detected by the two sensors, a newly developed algorithm calculates the amount of blur on the image plane, after which lens elements in the IS are positioned to compensate for the two types of shake – a first in an interchangeable lens for SLR cameras and an excellent way to solve the problem of camera shake in macro photography.
Pricing and Availability
The Canon EF 100mm f/2.8L Macro IS USM is scheduled to be available at the end of September and sell at estimated retail prices of $1,049.00.
Pre-Order the new Canon EF 100mm f/2.8L IS USM on Amazon.com
August 19, 2009: Canon today announces the launch of the feature packed Canon PowerShot G11
Commenting on his use of the predecessor to the Canon PowerShot G11
Gary Knight from VII making the Powershot G10 the ultimate street camera:
To achieve this I need a camera that offers great image and build quality without the bulk, and the PowerShot G series is perfect for this purpose. When shooting in areas of conflict, it’s important to have a compact camera in my bag that allows me to work discreetly but also provides the level of quality required to get the photos I need. The G Series excels in this respect, delivering great quality images from a compact body that is less intimidating than that of an SLR.”
Professional photographers will benefit from the Canon PowerShot G11
The premium quality Canon lens delivers picture-perfect performance, offering a 5x wide angle (28mm) zoom with optical Image Stabilizer (IS). This allows handheld shots to be taken at much slower shutter speeds (4-stops) than conventional non-IS models – allowing perfect shooting in darker conditions or at a lower ISO. Greatly reducing blur caused by camera shake, photographers can shoot at longer focal lengths and in lower light conditions without the need for a tripod.
The digital compact includes the ability to shoot in RAW format and is compatible with Canon’s Digital Photo Professional (DPP) software, ensuring that photo shoots can be easily integrated into a photographer’s workflow.
Stephen Munday, Senior Operations Director, Editorial, Getty Images, comments: “The quality of images delivered by the PowerShot G series are so good that we use G10 images within our editorial library, and our photographers using the G series models do so because of the image quality and flexibility they provide.”
He continues, “The unpredictable nature of news photojournalism requires our photographers to get shots in all kinds of situations, and the size of the G10 allows them to do that without drawing too much attention to themselves. The low-light capabilities of the new Canon PowerShot G11
Alongside superb image quality, the compact size of the PowerShot G11
“I’ve been a user of the G series since the G5” says Edmond Terakopian, photojournalist and winner of the British Press Awards Photographer of the Year and a World Press Photo award for Spot News. “Recently I’ve been using the G10 which is absolutely spot on; image quality, usability, reliability and build quality are all excellent. It’s the one camera that’s always with me, no matter where I am; whether on or off duty. I know I can rely on it to help me get the picture, no matter what.
Over the years I’ve used my G Series cameras on the occasions when assignments have needed discretion. It’s a satisfying feeling telling a picture editor that the photograph he’s just complemented was from a compact camera.”
The Canon PowerShot G11
The camera’s highest flash synchro speed has been increased to 1/2000th seconds, reducing the possibility of overexposed bright scenes. A real time histogram displays brightness levels on the PureColor II VA LCD screen, so photographers can easily view conditions and change settings when shooting.
The Canon PowerShot G11
The Canon PowerShot G11
TOKYO, July 22, 2009—Canon Inc. announced today the development of Hybrid Image Stabilizer (IS), the world’s first* optical image stabilization technology that compensates for both angle camera shake and shift camera shake. The technology will be featured in interchangeable single lens reflex (SLR) camera lens planned for commercial release before the end of 2009.
Several different preventative methods and corrective procedures have been introduced to compensate for errors caused by camera shake, which occurs when a camera moves while its shutter is open and its image sensor is exposed to light.
Canon began researching methods to compensate for camera shake in the 1980s, and in 1995 launched the EF 75-300mm f/4-5.6 IS USM, the world’s first interchangeable SLR camera lens to feature a mechanism that compensates for optical camera shake. Since then, the company has continued to produce a variety of interchangeable lenses with image stabilization capabilities, and boasts a total of 21 such lenses in its current product lineup.
Canon’s newly developed Hybrid IS technology optimally compensates for angle and shift camera shake. Sudden changes in camera angle can significantly alter images taken during standard shooting, whereas shift-based shaking, which occurs when a camera moves parallel to the imaging scene, is more pronounced in macro photography and other close-range shooting.
The new Hybrid IS technology incorporates an angular velocity sensor that detects the extent of angle-based shaking and is found in all previous optical image stabilizer mechanisms, as well as a new acceleration sensor that determines the amount of shift-based camera shake. Hybrid IS also employs a newly developed algorithm that synthesizes information from the two sensors to make optimal adjustments, thereby dramatically enhancing the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.
Canon is actively engaged in ongoing research and development of interchangeable SLR camera lenses incorporating Hybrid IS technology, and is aiming for the early commercialization and inclusion of the lenses in a wide range of products.
From the Magic Lantern site
Magic Lantern is an open platform for developing enhancements to the amazing Canon 5D Mark II full frame digital SLR. This camera is a “game changer” for independent film makers:
But, the software in video mode has limitations, even after the recent 1.1.0 upgrade from Canon that fixed the most glaring manual exposure “bug”.
That’s where Magic Lantern comes in — it turns your 5D Mark II 
Magic Lantern firmware introduction from Trammell Hudson on Vimeo.
June 22, 2009
A Tribute to KODACHROME: A Photography Icon
They say all good things in life come to an end. Today we announced that Kodak will retire KODACHROME Film, concluding its 74-year run.
It was a difficult decision, given its rich history. At the end of the day, photographers have told us and showed us they’ve moved on to newer other Kodak films and/or digital. KODACHROME Film currently represents a fraction of one percent of our film sales. We at Kodak want to celebrate with you the rich history of this storied film. Feel free to share with us your fondest memories of Kodachrome.
“Before digital, Kodak was already shifting gears–moving away from the boundaries of KODACHROME (long lab times, fewer labs, a more environmentally friendly, as well as constrained, chemistry)” said Meola. “E100SW and E100VS were a natural evolution of the KODACHROME look, and made my life a lot easier. And they kept all the great things about KODACHROME –long latitude, fine grain, great color–and made it easier for me to get processed anywhere. In some ways, those films were natural predecessors to the digital age.”
Steve McCurry, whose picture of a young Afghan girl captured the hearts of millions of people around the world as she peered hauntingly from the cover of National Geographic Magazine in 1985, offered these words:
“The early part of my career was dominated by KODACHROME, and I reached for that film to shoot some of my most memorable images,” said McCurry. “While KODACHROME Film was very good to me, I have since moved on to other films and digital to create my images. In fact, when I returned to shoot the ‘Afghan Girl’ 17 years later, I used Kodak’s E100VS film to create that image, rather than KODACHROME Film as with the original.”
End of an era, BUT for most it ended quite a long time ago with digital, heck for me even before with Fujichrome Velvia.
PS: I just installed the Canon Eg-S Focusing Screen
and it does help with manual focusing…BIG time!
I finally got in the Canon EOS 5D Mark II
I still have to install the Canon precision screen EG-S which should help a lot to focus with lenses 2.8 and brighter. I can’t wait to do some aerial photography with the Canon 5D Mark II, the files are a whopping 60+MB and have lots of details! I got me the Sandisk 32GB Extreme III
“Chuck Westfall:
That said, it is true that most standard focusing screens for modern SLRs such as the EOS 5D are designed to provide a reasonable balance between viewfinder brightness and manual focusing capability. The Ee-A standard focusing screen for the EOS 5D is bright enough (and accurate enough) for manual focusing under most lighting conditions with virtually any EF lens regardless of maximum aperture. However, because of the design of the microlenses on the surface of the Ee-A, the depth of field shown through the viewfinder never appears be shallower than approximately f/2.8. Therefore, when using a lens faster than f/2.8, the depth of field in the resulting photograph may be shallower than what’s shown in the viewfinder if a working aperture larger than f/2.8 is selected. This effect can be readily seen when comparing the viewfinder image to the LCD screen during replay, if you take time to look for it.”
“If this is an issue for you, Canon offers an optional focusing screen called the Ee-S Super ( Eg-S for Canon 5DMII
httpv://www.youtube.com/watch?v=_IdeWzbQ_hA&feature=channel_page
No wonder these dang lenses need to be micro adjusted…all done by hand?!?
httpv://www.youtube.com/watch?v=IzDPSi–3bg&feature=channel_page
If you thinking of buying some new Canon cameras now it’s the time since the USA Instant rebates will start on May 3, 2009! $130 off that 85 mm 1.2 its not a bad deal :).
CANON INSTANT REBATES: May 3 – July 11, 2009
Camera Bodies
EOS 50D Kit + EF-S 18–200mm f/3.5–5.6 IS – $300
EOS 50D EF-S 18–200mm IS Kit – $300
EOS 50D EF 28–135mm IS Kit + EF-S 18–200mm f/3.5–5.6 IS – $300
EOS 50D Kit + EF 70–300mm f/4–5.6 IS USM – $150
EOS 50D EF 28–135mm IS Kit + EF 70–300mm f/4–5.6 IS USM – $150
EOS Rebel XSi EF-S 18–55mm IS Kit (B) + EF-S 55–250mm f/4–5.6 IS – $200
EOS Rebel XSi EF-S 18–55mm IS Kit (S) + EF-S 55–250mm f/4–5.6 IS – $200
EOS Rebel XS EF-S 18–55mm IS Kit (B) + EF 75–300mm f/4.5–5.6 III – $100
EOS Rebel XS EF-S 18–55mm IS Kit (S) + EF 75–300mm f/4.5–5.6 III – $100
Lenses
EF 200mm f/2L IS USM – $500
EF 85mm f/1.2L II USM – $130
EF 70–200mm f/2.8L IS USM – $200
EF 100–400mm f/4.5–5.6L IS USM – $100
EF 16–35mm f/2.8L II USM – $100
EF 50mm f/1.2L USM – $100
EF 24–70mm f/2.8L USM – $80
EF 70–200mm f/4L IS USM – $75
EF-S 17–55mm f/2.8 IS USM – $70
EF-S 10–22mm f/3.5–4.5 USM – $50
EF 17–40mm f/4L USM – $50
EF 70–200mm f/4L USM – $40
EF-S 17–85mm f/4–5.6 IS USM – $50
EF 100mm f/2.8 MACRO USM – $35
EF-S 60mm f/2.8 MACRO USM – $30
EF 28–200mm f/3.5–5.6 USM – $30
EF 28–105mm f/3.5–4.5 II USM – $20
EF-S 18–55mm f/3.5–5.6 IS – $15
Flash Units
SPEEDLITE 580EX II – $50
SPEEDLITE 430EX II – $30
SPEEDLITE 220EX – $30
MACRO TWIN LITE MT-24EX – $70
MACRO RING LITE MR-14EX – $50
